Execution in Autumn

It’s fair to say when it comes to 1970s Taiwanese cinema my knowledge could fit on the back of a postage stamp that had been cut into twelve pieces then quartered, so why not try out Lee Hsing’s 1972 film, Execution in Autumn. Also, not that I routinely judge a film by its poster, the film has a compelling blu-ray cover and... ok, I am that shallow. Anyway...

Imprisoned for murder under likely sentence of death, Pei Gang (Ou Wei) is desperate to escape jail, having all his life had his ill actions softened and put right by his grandmother’s gold. Unable to procure his release, instead Grandmother Pei asks orphan Lian’er (Tang Pao-yun) to marry Pei Gang so she can bear a child to continue the family line.

Resplendent in its 2K restoration you have to say that Execution in Autumn is lovely to look at, and the director has a real knack for visual and sometimes visceral imagery. Early scenes where Pei Gang is dragging his manacled body as he pushes a stone flour mill give a real sense of physical discomfort and effort, and as much of the film takes place within jail cells, uses the geometery of these to great effect, often reiterating the sense of imprisonment. Noticably, too, when we see the world outside the jail, homes and within cities, these often seem the same, all characters trapped in their own lives and fates.

Not that Pei Gang deserves to be imprisoned, he really, really deserves to be imprisoned! Pei Gang is an entitled spoiled brat of a man, unable to imagine his grandmother, who has ensured all his evil deeds of the past have been paid for with gold, would be unable to allow him to go free. He is Pei Gang! He should be free because Pei Gang demands to go free! Yes, initially Pei Gang is perhaps one of the most boisterously monstrously unpleasantly entitled men in cinema, played with you have to say real physical gusto by Ou Wei, whose presence is hard to deny as he slams the wood that shackles his arms into his cell walls. Arguably it’s a great performance but does create something of a problem for the viewer because as we then learn Pei Gang’s crimes, and hear his unrepentant boasting, for all the performance is exuberant, it's hard not to want Pei Gang to be executed then and there, not to have to wait to the traditional season of Autumn for it to happen, because we don’t like him one bit. Even as then those that are given trinkets and gold to try and extricate Pei Gang either fail or brazenly take the money and run, it's hard to feel sorry for this ultimate man-baby.

But of course, this is all leading up to the man’s reformation, led by the Lian’er, an orphan raised in the house of Grandmother Pei, who agrees to marry Pei Gang only out of obligation. Pei Gang’s sudden transformation from braggart bully to more thoughtful man, capable of loving Lian’er is narratively a bit sudden and not entirely convincing but once the moment is over, again, it’s hard not to be impressed by Ou Wei’s performance as he seems to inhabit a different, more considerate, quiet and gentle body. Though he still has the same sheer physical presence he seems to radiate a religious calm; also Lian’er who starts off potentially as a sacrificial lamb ends up becoming a character you can imagine as the new matriarch of house Pei, finding her own inner strength, facing down greedy family members expecting to find her easily intimidated.

While not a perfect film, there’s much to enjoy and to admire in Execution in Autumn. Yes, there is a slightly obvious philosophical character who is in jail for selfless reasons in contrast to a thief, reckless and selfish who is also locked up and exist as a compare and contrast with Pei Gang as he goes through his transformation. There’s quite a touching role in the overseer of the jail who witnesses Pei Gang’s transformation and the final proof of Pei Gang’s great change. Grandmother Pei though is interesting casting as she is clearly not old enough to be Pei Gang’s grandmother but this is explained by her needing to appear more youthful in flashbacks and not really a problem but initially a bit eyebrow raising.  

Still this historical morality tale is a nice addition to Eureka’s Masters of Cinema series and at its best is a very powerful film if uneven at times, but with two strong performances from its leads, especially Ou Wei, who you have to say is impressive, even when you wish his head on the block and chopped.